Adagietto | Johann Sebastian Bach - Fuga, from Violin Sonata No. 1 in G minor | Alessio Bax @Adagietto | Uploaded April 2013 | Updated October 2024, 3 hours ago.
Johann Sebastian Bach - Fuga, from Violin Sonata Nº 1 in G minor, Johann Sebastian Bach, L. Godowsky piano transcription.
Alessio Bax, piano.
Playlist: youtube.com/watch?v=odHWI5b-ZUo&list=PLF2ayhcb2yRWJFPOdujst03cIjQXiiDu3&index=1
"Pianist Alessio Bax is praised for creating "a ravishing listening experience" with his lyrical playing, insightful interpretations and dazzling facility. "His playing quivers with an almost hypnotic intensity," says Gramophone magazine, leading to "an out-of-body experience" ( Dallas Morning News)."
alessiobax.com
Album Available: signumrecords.com/catalogue/alessio-bax/alessio-bax:-bach-transcribed/sigcd156.html
Johann Sebastian Bach - Fuga, from Violin Sonata Nº 1 in G minor, Johann Sebastian Bach, L. Godowsky piano transcription.
Alessio Bax, piano.
Playlist: youtube.com/watch?v=odHWI5b-ZUo&list=PLF2ayhcb2yRWJFPOdujst03cIjQXiiDu3&index=1
"Pianist Alessio Bax is praised for creating "a ravishing listening experience" with his lyrical playing, insightful interpretations and dazzling facility. "His playing quivers with an almost hypnotic intensity," says Gramophone magazine, leading to "an out-of-body experience" ( Dallas Morning News)."
alessiobax.com
Album Available: signumrecords.com/catalogue/alessio-bax/alessio-bax:-bach-transcribed/sigcd156.html
![Philippe Jaroussky - Lascia chio pianga | Händel - Rinaldo [HD]](https://i.ytimg.com/vi/u-74WzKsFzI/hqdefault.jpg "Philippe Jaroussky - Lascia chio pianga | Händel - Rinaldo [HD]
George Friedrich Händel - Lascia chio pianga mia cruda sorte, from Rinaldo, opera, HWV 7, 1711 | Philippe Jaroussky, 2016.
Lascia chio pianga
mia cruda sorte,
e che sospiri
la libertà.
Il duolo infranga
queste ritorte
de miei martiri
sol per pietà.
Let me weep over
my cruel fate,
and that I may sigh for
freedom
Let my sadness shatter
these chains
of my suffering,
if only out of pity.
Other Performances:
Philippe Jaroussky - Ombra mai fù https://youtu.be/MQm2C5UrERg
Lascia ch’io pianga, originally Lascia la spina, cogli la rosa, is an Italian-language soprano aria by composer George Frideric Handel that has become a popular concert piece. Its melody is first found in Act III of Handel’s 1705 opera Almira as a sarabande; the score for this can be seen on page 81 of Vol. 55 of Chrysander. Handel then used the tune for the aria Lascia la spina, cogli la rosa, or Leave the Thorn, Take the Rose, for the character Piacere in Part II of his 1707 oratorio Il trionfo del Tempo e del Disinganno (which was much later, in 1737, revised as Il trionfo del Tempo e della Verità). Four years after that, in 1711, Handel used the music again, this time for his London opera Rinaldo and its Act II aria Lascia ch’io pianga, or Leave Me to Weep, sung by the character Almirena, a soprano role taken by Isabella Girardeau in the premiere. Rinaldo was a triumph, and it is with this work that the aria is chiefly associated.
After composing two Italian operas for Hamburg, two Italian oratorios for Rome, and a third Italian opera for Venice, George Frideric Handel moved to England in 1710 to compose his first Italian opera for London. Produced in the Queens Theater in the Haymarket on February 24, 1711, Rinaldo would certainly have been an enormous success if the librettist and impresario Aaron Hill had not neglected to pay the tradesmen, thereby causing the Lord Chamberlain to revoke Hills theater license nine days after the premiere. But Rinaldo paved the way for the quick success of Handel and Italian opera in London and the work was revived in 1712, then again in 1717, and again in 1731.
Hills libretto is based on Tassos epic poem on the First Crusade Gerusalamme liberata, but with a new plot and a new female lead to give the story appeal to a then-contemporary London audience. Handels music is in part a pastiche drawn from many of his earlier dramatic works, and in part a newly composed work with deeply expressive arias and recitative adorned with extravagant trumpet and woodwind writing. Together, Hills libretto and Handels music create a powerful and plangent opera with strong and sympathetic leads in Rinaldo and Almirenda and a superbly coherent and convincing score.")
![Fernando Lopes-Graça - Acordai | Coro Infantil e Coro de Câmara da Universidade de Lisboa [HD]](https://i.ytimg.com/vi/uwVxxMk2yVE/hqdefault.jpg "Fernando Lopes-Graça - Acordai | Coro Infantil e Coro de Câmara da Universidade de Lisboa [HD]
Fernando Lopes-Graça - Acordai, Canção heróica de José Gomes Ferreira e Fernando Lopes-Graça. Coro Infantil da Universidade de Lisboa (CIUL) e Coro de Câmara da Universidade de Lisboa (CCUL), Erica Mandillo (Direção)
Comemorações do Cinquentenário do Dia do Estudante 1962, Reitoria da Universidade de Lisboa, 24.III.12
Fernando Lopes-Graça - Acordai, Coro Ricercare http://youtu.be/gtp0kdmdRAE
Fernando Lopes-Graça | Música
José Gomes Ferreira | Letra
Acordai!
Acordai,
Homens que dormis
A embalar a dor
dos silêncios vis!
Vinde, no clamor
Das almas viris,
Arrancar a flor
Que dorme na raiz!
Acordai,
Raios e tufões
Que dormis no ar
E nas multidões!
Vinde incendiar
De astros e canções
As pedras e o mar,
O mundo e os corações!
Acordai!
Acendei,
De almas e de sóis
Este mar sem cais,
Nem luz de faróis!
E acordai, depois
Das lutas finais,
Os nossos heróis
Que dormem nos covais
Acordai!
José Gomes Ferreira
Chamam-se Canções Heróicas porque contribuíram para exaltar a liberdade e dar força a todos aqueles que lutavam contra a ditadura de Salazar. A primeira versão foi publicada, em 1946, sob o título de Marchas, Danças e Canções próprias para grupos vocais ou instrumentos populares. Foi apreendida pela Censura o que impediu que os poemas fossem ouvidos e cantados em espectáculos ou sessões públicas, como até então. Contudo, muitos resistentes continuaram a cantar as canções nos encontros clandestinos ou nos países onde se encontravam exilados. Em 1960, surge uma colecção, mais alargada, com o nome de Canções Heróicas, Dramáticas, Bucólicas e Outras. A nova edição destinava-se a celebrar o 50º aniversário da implantação da República e foi divulgada com grandes precauções, num meio muito restrito de pessoas. Finalmente, a versão final ficou conhecida por Canções Heróicas.
Wake up!
Wake up!
Wake up!
Those of you who slumber
while rocking
the pain of a wicked silence.
Come with the shouting
of virile souls
and pluck the flower
whose root is asleep
Wake up!
Wake up!
Thunders and typhoons
that lie dormant in the air
and in the crowds.
Come and ignite
with stars and songs,
the stones of the sea
the world and hearts
Wake up!
Inflame with
souls and suns
this sea void of piers
and flashing lighthouses.
and awake at last
after all fights are through,
our ancient heroes
sleeping in the caves
Wake up!
José Gomes Ferreira. Translation: João Lourenço
Wacht auf!
Wacht auf!
Wacht auf,
Ihr Menschen, die ihr schlaft
Und den Schmerz
Der bösen Stille wiegt,
Kommt mit dem Geschrei
Der starken Seelen
Die Blume abreißen,
Die in ihrer Wurzel schläft.
Wacht auf!
Wacht auf,
Blitze und Orkane,
Die ihr in der Luft
Und in der Menschenmenge schlaft,
Kommt, zündet
mit Gestirnen und Liedern
Die Steine des Meeres,
Die Welt und die Herzen an.
Wacht auf!
Entflammt
Mit Seelen und Sonnen
Dieses Meer ohne Hafen,
Ohne Leuchttürme,
Und nach den letzten Kämpfen
Weckt dann
Unsere Helden,
Die in den Gräbern schlafen.
Wacht auf!
José Gomes Ferreira. Übersetzung: David Santos")
